Pierre d'Alancaisez
@verdur_in
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/ writer / curator / @Freedom_in_Arts / @NewBooksNetwork / ex waterside contemporary / ex science / ex finance / ex gifted child / etc.
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Joined July 2010
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Coming up at Verdurin: Cells and Salons, a conspiracy theory open-mic night.
Ticket £8:
The event organised with
@edjmckeon
plants the seed of aesthetic desires to give rise to new worlds. Faithful and aspiring members of Verdurin’s petit clan welcome.
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Cancelling problematic dead white men while taking money from living corporate monsters, in the name is social justice. Gadsby should really be a museum director.
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If these pointless celebrities keep being invited to meddle in art history, supposedly to provide ethical cover, can’t they actually do the right thing? An SJW with any self respect would side with Picasso over even a good Sackler. Gadsby wants to have the cake too.
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Just heard a philosophy lecturer describe Hobbes as “working within the heterosexual cis matrix”.
At this stage, it may be easier to pretend that history started in, say, 1945. Or 2020.
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The art world is eating itself. The righteous mob is rabid. They hypocrisy is staggering. The cancellation bingo is now unstoppable. Is this enterprise worth saving?
For
@TheCriticMag
, I wrote about the ArtForum open letter that broke the camel’s back.
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Arts institutions double down on capturing all that is creative until nobody will be able to knit a scarf without having it recorded in a spreadsheet and reported as a cultural commodity.
New research shows that 'everyday creatives' don't engage with cultural institutions with any regularity. Anne Torreggiani on how organisations can better support and engage their communities
@audienceagents
@ace_national
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Artistic freedom is under attack.
I’m very happy to join this important initiative by
@RosieKayK2CO
and
@DeniseFahmy
which launches today.
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“Dismantle the maestro myth and classical music will suffer” - we did this in contemporary art already.
First, we unmasked the artistic genius as a fraud. Then told everyone they can be an artist. Finally, we brought back bohemian poverty and cultural Darwinism. It’s going great.
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The greatest loser of the culture wars so far is culture itself.
"In this phase of the culture wars, live-tweeting about Wagner’s antisemitism whilst listening to the Ring Cycle is the only way to feel anything at all.”
Me for
@TheCriticMag
.
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The word ‘coward’ should make its way into art criticism again.
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You can literally add “queering” to anything and someone will believe that you’re a hero.
QUEERING PSYCHOGEOGRAPHY: LET'S F*CK AROUND ON GOOGLE STREET VIEW
17th Oct, 8-9pm
@maydayrooms
🎟️
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This one’s important: if a single NGO created the cultural values of a whole region without once being called to account, what other ideologies is contemporary art producing and on whose orders?
I speak to Aaron Moulton about The Influencing Machine.
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My conversation with Matthew Fuller and Eayl Weizman about their book Investigative Aesthetics is now online.
We speak about Forensic Architecture, the evidentiary turn, the aesthetics of distributed sensing, and the investigative commons.
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Sorry to go on about this but with the latest edition of the Venice Biennale and its complete abdication of aesthetic interest, contemporary art is over. Long live contemporary art?
Me in
@spectator
@CultureHouse
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My conversation with Matthew Fuller and
@weizman_eyal
about their book Investigative Aesthetics is now out
@NewBooksNetwork
.
We talk about
@ForensicArchi
tecture, the politics of sensing and sense-making, and the investigative commons.
@VersoBooks
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Tate Britain doesn’t normally need to have a ‘quiet space’ for when it all gets too much. What are the audiences of ‘Queer & Now’ supposed to be hiding away from?
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One of the reasons the arts and humanities are in this state is that their defenders can’t make a cogent argument.
Instead, they keep hitting the talking points: maths bad, student fees bad, arts make money, etc. All these are true but they aren’t /
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Yes. The real “danger” is that publicly funded arts organisations aren’t yet fully merged with publicly funded organisations like Hope Not Hate. But this arts centre is changing this.
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I’m starting a series of quick-fire exhibition reviews, each max 200 words long. Idea shamelessly copied from
@art_manhattan
.
notes and notices: Mandy El-Sayegh, Interiors at Ropac, 2/5.
“There aren’t enough ideas here to go around these Mayfair halls.”
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It’s hard to overstate how damaging Europe’s aversion to nuclear energy has been. Forget climate concerns or war: we’re simply not going to reduce our way to happiness.
@nukebarbarian
is excellent on all things grid.
@compactmag_
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@AbigailSusik
I’m entering unconvinced by the art historical argument (such as it is articulated in the letter). It’s hard to see what is iconoclastic about attacking painting in an artistic sense when JSO obviously don’t care about art. They couldn’t even get soup/Warhol and oil/Van Gogh
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The arts are still trying to catch up with the regime of market measurement and evidence-based investment. And they’re failing.
Me for
@TheCriticMag
on why the arts must secede from the creative industries if they are to mean anything at all again.
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It will be lost on them that the 1914 Rokeby Venus slasher Mary Richardson went on to join the British Union of Fascists.
💥 SUFFRAGETTE PAINTING SMASHED
💀 Our government have revealed plans for MORE oil licences, knowing it will kill millions. In response, two supporters of Just Stop Oil smashed the Rokeby Venus — slashed by Mary Richardson in 1914.
⏱ Deeds, not words:
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Possibly the most telling line in an artist interview ever: “Sometimes, I wish that I didn’t have to make work about my identity”.
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Every crisis is an opportunity for institutions to advance reforms that’d be unpopular at any other time. We accept cuts and mission creep in the name of ‘recovery’.
A golden opportunity for museums to become artless voids with nice sofas and an academic telling you that’s good.
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“Art can be, and frequently is, iconoclasm. These activists should not receive custodial sentences for an act that connects entirely to the artistic canon.”
This understanding of iconoclasm as an artistic act equates art with propaganda. As you wish.
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To everyone’s surprise, the art world is pleased with itself!
Venice Biennale week got off to a heart warming start at a dinner co-hosted last night by the event's artistic director, Adriano Pedrosa. Mark Bradford delivered a surprise speech praising the artistic director’s impactful 'generosity and quiet power'
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I had another substantive, serious conversation with an artist today. On history, politics, society, ideology, and what art is for.
After five hours of discussion, they remarked that they they could not have breached any of our questions in public without risking their career.
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I don’t know how many times this sick logic must be exposed before the ‘creativity will save you’ lot understand the damage they’re causing.
They understand that, in this example, fashion education is mostly about training for low-wage, low-status jobs. /
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In my 20 years of thinking about art, “beauty” came up only a handful of times. That’s surprising in a world which still has sunsets.
For
@TheCriticMag
, I wrote about the war on beauty’s essentialism and the problem of socially constructing it again.
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Depressed this is my most popular tweet so far. Isn’t it so obvious that cultural institutions are the very problem they are proposing to mitigate? This isn’t even a smoking gun.
Read
@SafetyPropagan1
’s piece.
Then come build substantive critiques.
Cancelling problematic dead white men while taking money from living corporate monsters, in the name is social justice. Gadsby should really be a museum director.
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So I have just been invited to a workshop on DECOLONISING PODCASTING. Because words no longer mean anything.
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This is why the left can’t meme.
You need to be allegorymaxxing. You need to be bringing the memes to life and setting them moving in relation to one another. You need to be conjuring tutelary, incendiary but politically unclassifiable narratives that take on a life of their own. You need to be allegorymaxxing.
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The sooner these institutions divest fully from art - and the job is 90% done - the sooner someone else can make something worth looking at.
The new director of Kiasma Museum of Contemporary Art in Finland has said that ensuring a sustainable future and countering climate change should be the driving force for museums
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There's a growing number of critics who understand that neither the institutions, nor the market will save contemporary art.
The question is whether this is a feature of the apparatus or a deeper crisis of art itself. One things' for sure: it won't be contemporary art that
Contemporary art is over. The energy is gone, it has moved elsewhere.
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Jesse Darling, whose work is made from crowd control barriers, endorses rioting in a recent
@ArtMonthly
interview. One wonders if this embrace includes last month’s riots.
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Lawrence (rightly) moans that the public doesn’t care about art anymore. Gone are the days of the YBAs when, at least, the people hated what they saw.
But it’s harder to articulate a positive mission for art today when all art has is a positive mission.
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Release the film! Free Michel Houellebecq from the prison of his imagination!
@realKIRAC
#michelhouellebecq
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I was reading Christopher Lasch and realised that we don’t have a clear idea where the ‘culture’ of our ‘creative industries’ came from.
In
@TheCriticMag
, I suggest that we might want to figure this out now that our cultural institutions are in crisis.
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Remember that the arts are elite pursuits by design. And we should select our elites on merit.
But the constant calls to widen access will continue to backfire because they rely on the myth of boundless growth that would accommodate everyone. It demonstrably doesn’t. /
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This may turn out to be the breaking point for the faux solidarity between artists and their institutions. The Western artistic workforce is largely pro-Palestinian. The institutions, on the other hand, are often dependent on support aligned with Israel. /
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This is incredibly important. Underneath the layer of ideological bias of news organisations, there’s another layer that is far more difficult to track because it morphs to ideally match the journalists’.
The very same thing happens in the arts. My own essay forthcoming.
The same credulity with which journalists used to report official briefings from government sources now happens, in overstretched newsrooms, when reports and briefings come in from an NGO.
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Scotland will soon have a very cultured
Police force as officers are told to scrutinise plays and comedy gigs lest they contain hate crime.
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The left has so completely forgotten what a commitment to free speech looks like that it reflexively condemns any mention of it as a bigoted dog-whistle but has no current or historical example of progressives defending the principle.
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Freedom in the Arts: This is our open letter calling for the restoration and protection of the intellectual and creative freedom of artists.
Please join us.
@Freedom_in_Arts
After years of political polarisation, artists and arts institutions rightly feel immense pressure to address the
fundamental questions facing society. Indeed, the intellectual freedom of the arts and their role in the free exchange of ideas and opinions are vital. /
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"The museum is the spiritual successor of the church” and it’s fast following the spiral of decline of its predecessor.
For
@TheCriticMag
, I wrote about the mission creep and the aesthetic crisis in these once vital institutions.
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Once you start following your taste for ideological purity in art, you have to keep going until all wrong-thinking sponsors, curators, cleaners, and even audiences are banished.
APNews: Activists put pressure on arts organisations to consider the ethical robustness of their corporate sponsorship deals
@NPGLondon
@Sadlers_Wells
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Coming up at Verdurin: ICONOCLASM.
A four-part course led by
@Nina_Compact
which will examine the question of images, their effect on us and what use we make of them.
Held in person in London in August. We will also offer a self-study option.
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We should consider the fact that Arts Council England dropped ‘artistic excellence’ as a category of interest a decade ago as a poignant act of art criticism.
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Please support Art Basel in dismantling elitist structures.
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Excited that my conversation with Olúfẹ́mi Táíwò is now out.
His argument Against Decolonisation is crucial to scholarship and culture finding their way out from the 'decolonise everything' stalemate. A must-listen.
@HurstPublishers
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I’m at a conference on ‘the future of creativity’ and five minutes in we already have all the usual cliches.
"The arts are the UK’s fastest growing industry", "the arts are vital to medicine’’, "Harry Styles looks great in a pink tutu".
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A muted, postpolitical exuberance fills Wolfgang Tillmans’ photographs at the turn of the millennium. But then, the world has other plans.
@AntonJaegermm
looks at the events in the mirror of art and literature for
@the_point_mag
.
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Kinda sad that fundamental questions of how humans are creative have got into this progressive vs trad rut. It’s either “burn the cishet canon!” or “compulsory life drawing!”.
The former has produced novelty but it’s uniform and repetitive. /
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Ever wondered how all cultural institutions somehow have the same views on every trendy idea, regardless of the preferences of their audiences?
Well, the museum association ICOM’s Italian branch has a “queer” section run out of.. the University of Leicester.
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One way to help the arts is to get rid of marketers whose contribution to culture is asking “if your organisation was a biscuit, what would it be?”
We just want to give a shout out to
@cog_design
who designed this year's lanyards.
We think they look great and have really helped everyone navigate the programme and venue — so thank you!
#AMAconf
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“Censorship is not always centrally directed; it can arise from the fear of vilification.“
@ace_national
chair Nick Serota suggests restoring artistic freedom should be a priority for the new administration.
Join the
@Freedom_in_Arts
campaign!
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"Just print more money"
As part of our launch of our “Arts Us For All” pamphlet, here is a key insight into ‘how to fund the arts?’
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There’s a trend in ‘social’ exhibitions to disclose their working methods and costs. And then they look like this.
£179,054 to turn an arts centre into a waiting room. Read the cost breakdown carefully and tell me about ‘trust’.
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The Labour manifesto on culture.
1. You know how we have been ‘levelling down’ all cultural production for 20 years and it hasn’t made much difference really? More of that.
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My essay on reactionary art found its way to frog twitter and I have to give it to them: they are prepared to think about what they’re doing more openly than the liberal art world.
One pervasive misconception though: that one can separate values from politics. Too late.
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Hey, Tate art writers, the thesaurus is fun but these are not synonyms:
Light isn't "refracting" in the mirror, it's merely "reflecting". Music isn't "resonating" in the gallery, it's only "sounding".
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The idea of institutional neutrality is so alien to the art world that it mistakenly sees censorship as a virtue.
photography about Muslim life in Berlin was taken from an exhibit by the organisers “to avoid conflict” because they “did not want to take a political position”
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What does it mean for art to be ‘right-wing’ when the critical consensus is that’s a no-no?
For
@TheCriticMag
, I wrote about the aesthetic choices of artists who reject the left, dislike the online alt-right, and head straight for 1880.
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both the privileged geniuses and failed privileged drones too. /
Because not enough people had their dreams broken? For most, graduate creative education is neither economically advantageous, nor morally edifying when not even privilege guarantees success. /
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Because the industry needs drone workers, not another lot of geniuses to revolutionise it. The ideas people are already oversupplied. That’s how creative industries work.
But again, the call is to send more underprivileged people into the mill where they will compete with /
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I’m impressed that they managed to get the tickets, show’s completely sold out.
🟦 BREAKING NEWS 🚨 | Van Gogh’s Sunflowers has been attacked again by Just Stop Oil at the
@NationalGallery
it comes just an hour after the sentencing of two activists for the same type of attack in 2022
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Once we have turned everyone into an artist, there will be no one left to look at the art.
#saynotoartschool
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Who should die for public art? Teresa Margolles' Fourth Plinth commission is a perverse memorial to 726 trans people whom the artist wants us to imagine as already dead.
I reviewed the sculpture for
@TheCriticMag
.
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Kinda droll that RW art criticism so conceived would do precisely what leftist art practice does, just with the columns swapped. When both factions believe that good ideology makes good art, we might need more centrist painting.
The most annoying people in the world love to say there is no objective difference between good art and bad art
So I made a list of 15
Good Art v/s Bad Art: The Masterlist of 15 Differences👇🏻
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@RSMuseumStudies
recently issued extensive trans-inclusive policy guidelines for museums, to much fanfare. But not all of it is legally sound and challenges are inevitable.
This is what happens when institutions want to look like they’re moral leaders in a political argument.
So many leading arts, heritage, museums, cultural & research organisations are sharing
#TransInclusiveCulture
& encouraging their members & followers to take up & use the guidance.
#CitizensOfChange
The guidance is based on world leading legal and ethical scholarship …1/3
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God forbid something should come between curators and activists.
I'm not a big fan of these protest actions that target cultural heritage. I think they create unnecessary enmity between people who are natural allies (curators and activists).
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Interviewing Patricia Bickers about her book The Ends of Art Criticism in person means that we got to talk about a million things. But we also recorded 2 hours more than I can squeeze into the podcast..
A great
@NewBooksNetwork
episode coming up soon!
@LHArtBooks
@ArtMonthly
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Verdurin opens on 3rd April with ‘What We May Also Do’, an exhibition of new paintings by Anna Sebastian.
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Toby Green’s and Thomas Fazi’s The Covid Consensus is the perfect companion to the Hancock files. It’ll frighten the pants off you too.
My interview with them:
“We frighten the pants off everyone,” Matt Hancock suggested during one WhatsApp message with his media adviser.
#lockdownfiles
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How to solve the museum problem? They should turn their focus back to collections rather than visitors.
This advice won’t be welcomed by the industry who are in the third decade of turning into social centres. And I don’t think the conflict of interest is reconcilable.
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This by
@DisgracedProp
is a great rallying call for anyone wanting to make art not against but despite the mainstream’s liberal stalemate and the right’s cultural indecision.
The right-wing think tank isn’t there to make you a good artist any more than /
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As I pointed out many times, before “the creative industries” became a growth engine by exploiting fresh, aspirational labour like few other sectors can, Britain’s dull “heritage” sector wasn’t actually so bad.
The U.K. Art World Is More Elite Now Than It Was 60 Years Ago. Can It Reverse Course? Several new initiatives for arts professionals are hoping to tackle the U.K.'s deeply entrenched class problem. By
@JoLawsonTancred
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There I am, on page seventeen.
Our November issue is on newsstands next Thursday. But subscribers get it first! Contributors this month include
@HJoyceGender
@verdur_in
@militaryhistori
@DanBJohnson
@RuthDE
@NLebrecht
Felipe Fernández-Armesto
@stephenpollard
@NJ_Timothy
&
@AndrewGimson
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Just got an invitation to an exhibition about “queering compost”. I’m not paraphrasing. It “explores the queerness of compost”.
It’s organised by the people who complained about the appearance of “condoms” on the list of compostable materials in our community garden.
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will have left behind a trail of broken dreams and a lot of bad identitiarian art.
And as I wrote for
@TheCriticMag
, I even have my doubts about the future of the ‘industrial’ creativity that is supposedly core to the UK economy. /
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The art world doesn’t get much funnier than this.
notes and notices: Jordan Derrien, Painted on a Wall of the Inn at Marlotte at Des Bains ★★☆☆☆
“Derrien has his audience discussing the nature of paint drying out loud.”
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Yes, please. When I was a kid and I felt sad, needed inspiration, or just wanted to feel alive, I would go down to my creative industries centre and do some creativity. It’s terrible that the Tories made the creative industries a £126bn travesty.
APNews: Arts Minister Chris Bryant says he want everybody in the UK to have an opportunity to enjoy the creative industries
@RhonddaBryant
@DCMS
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Sometimes I can’t remember which of you I follow seriously and which ironically.
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I love getting feedback. An email from an tech+creativity czar for an international research consortium agrees with my critiques but bemoans my lack of solutions. Just how would I ‘save’ the cultural-industrial complex?
I wouldn’t. It’s in the headline.
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As arts funding dwindles, I foresee hordes of curators retraining as MAID programme administrators.
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I saw 33 (yes, thirty three) commercial gallery shows in London this weekend. Some trends:
Everything looks like a store Christmas display in which the installation part of the exhibition isn't an artwork per se but an inducement to buy a discrete object.
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Last night at Verdurin: Beyond Left and Right?
Malcom Kyeyune
@tikgzorg
, Philip Cunliffe
@thephilippics
, Georg Kurz
@oekofuzzi
, and Andreas Wintersperger
@AWintersperger
.
Organised with
@PlatypusLondon
@platypus1917
.
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The wholesale repurposing of arts organisations from spaces of encounter with art to vehicles for marketing it as content is nearly complete.
Cultural organisations need to rethink recruitment for specialist digital roles to reach the right people in the right way, says Ash Mann
@biglittlethings
@substrakt
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So much for artworld solidarity with itself. Soon, there’ll be no one left to fire or cancel.
After a call for a ceasefire in Gaza signed by thousands of artists appeared on its website, Artforum has fired its top editor, David Velasco.
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My interview with Jennifer Ponce de León on her book Another Aesthetics is Possible is now out on
@NewBooksNetwork
. Like, share, subscribe - and listen!
@DukePress
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This is an incredibly vague vision for this kind of a price tag. Cullinan dodges every serious question: arguments about funding ethics, the Marbles, and interpretation will just carry on.
So it’s £1bn paint job.
New British Museum director Nicholas Cullinan has an ambition to make the BM the “most welcoming and accessible museum in the world”, and needs to fundraise almost £1 billion 💸👇
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Imagine having decolonised your museum so thoroughly that you also already decolonised yourself in your spare time and now want to force-decolonise your grandmother.
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I’ve done it, everyone, I found the worst piece of art that it is possible to make.
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